why aren't you writing screenplays? You come up with the best lines.
. . . Because I have no idea how to structure a film? Besides, these are all narrative lines, and I think voiceovers have gone out of fashion these days.
I *so much* enjoy vicarious film watching with you.
Hah! Thank you. I like sharing things I like. Probably some of it is the impulse to retell—I'm still not satisfied with my description of Tobias' Al Doyle. He's a big man and he's more of a comic character than Garfield's Nick, especially with his wisecracks, his plaintive drunk scene and his hard-luck experience with various inanimate objects, but he's not stupid, or he wouldn't be Nick's go-to guy, and he can be a hard man when he has to with barely a change of face. There's more between the lines of these archetypes than first appears. It's hard not to feel something for Coulouris' hangdog Doc Ganson, who used to be a top-flight racketeer and lives mostly now in the back room of a smoky bar, banking on the next score that will put him back on his feet: he's like a man playing the part of a con artist, always a touch hollowly as if he doesn't really believe it himself, or he has to remember every time how it's done. He's overblown when he's on top and vicious when cornered, and there is at nearly all times that doubting edginess that is close to paranoia, but he's not just a heavy. He's a parody of himself now, swinging between extremes. He would not have been an unimpressive figure in his heyday. And now I'm shortchanging Walter Brennan, who was playing old-timers by his mid-thirties—he puts some nice shadings into "Pop" Gruber, who'll do his best to look out for his old protégé and his new flame, but Ganson can still put the screws on him. Richard Gaines polishes his glasses expertly as Gladys' financial advisor, who in another movie would have been stuffy and flustered and is here merely a very honest, genuinely polite man who can't spot a shark at twenty paces. You should see the film yourself if you get the chance!
no subject
. . . Because I have no idea how to structure a film? Besides, these are all narrative lines, and I think voiceovers have gone out of fashion these days.
I *so much* enjoy vicarious film watching with you.
Hah! Thank you. I like sharing things I like. Probably some of it is the impulse to retell—I'm still not satisfied with my description of Tobias' Al Doyle. He's a big man and he's more of a comic character than Garfield's Nick, especially with his wisecracks, his plaintive drunk scene and his hard-luck experience with various inanimate objects, but he's not stupid, or he wouldn't be Nick's go-to guy, and he can be a hard man when he has to with barely a change of face. There's more between the lines of these archetypes than first appears. It's hard not to feel something for Coulouris' hangdog Doc Ganson, who used to be a top-flight racketeer and lives mostly now in the back room of a smoky bar, banking on the next score that will put him back on his feet: he's like a man playing the part of a con artist, always a touch hollowly as if he doesn't really believe it himself, or he has to remember every time how it's done. He's overblown when he's on top and vicious when cornered, and there is at nearly all times that doubting edginess that is close to paranoia, but he's not just a heavy. He's a parody of himself now, swinging between extremes. He would not have been an unimpressive figure in his heyday. And now I'm shortchanging Walter Brennan, who was playing old-timers by his mid-thirties—he puts some nice shadings into "Pop" Gruber, who'll do his best to look out for his old protégé and his new flame, but Ganson can still put the screws on him. Richard Gaines polishes his glasses expertly as Gladys' financial advisor, who in another movie would have been stuffy and flustered and is here merely a very honest, genuinely polite man who can't spot a shark at twenty paces. You should see the film yourself if you get the chance!